NEW YORK CITY | The bad boy of Asian painting has returned. In full color.
The last time the painter Manuel Ocampo was presented by Tyler Rollins Fine Art in Chelsea, his paintings were dark, violent and crusted over in darker shades of black and grey. For his second solo exhibition with the gallery, The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self-Loathing and Intestinal Mishaps, promises a return to the explosion of color. The exhibit opens Nov. 8 and runs through Dec. 22 at Tyler Rollins, located at 529 West 20th Street, Suite 2W.
Concurrently with his own gallery show, Ocampo is curating a group exhibition of Manila-based artists, entitled “Bastards of Misrepresentation,” taking place at several New York venues, including the Queens Museum, NYU, TOPAZ Arts, and Crossing Art. A catalogue accompanies this exhibition, and a dynamic program of events has been scheduled, including an artist talk with Ocampo at Tyler Rollins Fine Art, which will also feature a number of the artists participating in the Bastards exhibition, including Poklong Anading, Yason Banal, Lena Cobangbang, Pow Martinez, Carlo Ricafort, and Maria Jeona Zoleta.
Manuel Ocampo has been a vital presence on the international art scene for over 20 years. He is known for fearlessly tackling the taboos and cherished icons of society and of the art world itself. Based in California in the late 1980s and early 1990s, Ocampo had his first solo show in Los Angeles in 1988 and was included in the landmark exhibition Helter Skelter: L.A. Art in the 1990s, organized by Paul Schimmel at The Museum of Contemporary Art, Los Angeles, in 1992.
This year marks the 20th anniversary of that exhibition, which is perhaps alluded to in Ocampo’s title for his upcoming New York show. This year also marks the twentieth anniversary of the Asia Pacific Triennial (taking place in Brisbane, Australia from December 8, 2022 – April 14, 2023), for which Ocampo will present an installation of paintings that reflect on the evolution of his artistic practice over the past 20 years.
Ocampo is currently based in Manila, in his native Philippines, but spends significant time working in the United States and Europe, particularly Germany, Luxembourg, and France.
Ocampo’s reputation was firmly established in the early 1990s, with inclusion in two of the most important European art events, Documenta IX (1992) and the Venice Biennale (1993). In addition to Helter Skelter, he participated in several international museum exhibitions at that time, including “Individual Realities in the California Art Scene” at the Sezon Museum of Modern Art, Tokyo (1991), and “Jean-Michel Basquiat & Manuel Ocampo” at the Henry Art Gallery, Seattle (1994). He has subsequently participated in numerous museum exhibitions and biennials around the world, including the biennials of Gwangju (1997), Lyon (2000), Berlin (2001), Venice (2001, his second showing there) and Seville (2004).
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